Encyclopedia of Needlework Part 11

[Ill.u.s.tration: FIG. 215. LETTER W, FROM THE ALPHABET GIVEN IN FIG. 211 AND 212.]

In order to economize room, J and H are represented in one square, but they are easily distinguishable from each other.

Fig. 214 represents the numerals, executed in the same way. We should like to draw our readers attention to a few other ways in which letters and numerals may be outlined by the back-ground; for example, the solid parts can be worked either in plain or twisted knot st.i.tch (figs. 177 and 178); in very fine chain st.i.tch; in old German knot or bead st.i.tch (fig. 873), or even in pique embroidery (fig. 877).

BORDER OUTLINED BY GROUNDING, WORKED IN GOBELIN AND STEM St.i.tCH (fig.

216). The grounding of this pattern is worked on stiff white linen, and entirely in Rouge-Turc 321, and the outlining in Noir grand Teint 310.

The same pattern can equally well be worked on gauzes and other transparent stuffs, but with Coton a repriser, instead of Coton a broder D.M.C, for the solid parts. Two shades of Rouge-Grenat, one dark and one very light, may be taken instead, or two of Jaune-Rouille, or of Violet-Mauve, employing always the lighter shade for the grounding and the darker for the setting.

[Ill.u.s.tration: FIG. 216. BORDER, OUTLINED BY THE GROUNDING WORKED IN GOBELIN AND STEM St.i.tCH. First part.]

[Ill.u.s.tration: FIG. 216. Second part. MATERIALS: Coton a broder D.M.C No. 50.--COLOURS: Rouge-Turc 321 and Noir grand Teint 310.[A]]

Be careful, in the grounding, not to make the red st.i.tches near the edge, longer than they are represented in the ill.u.s.tration and to set the black stem st.i.tches as close as possible to the grounding.

The pattern, which could only be reproduced in the original size, had to be divided in two, to fit the page. In copying it, join the A and B of the first part to the A and B of the second; the same in fig. 217, each time the pattern is repeated, the flowers are to droop from the + as seen from the position of the buds in the first part, at the beginning of the drawing.

FLOWER GARLAND IN DIFFERENT KINDS OF St.i.tCHES (figs. 217 and 218).--Most of the st.i.tches, described at the beginning of this chapter, will be found in this graceful garland, in the execution of which a considerable variety of colours can be introduced. The rose-buds may be worked in two shades of Vert-Pistache and of Rouge-Grenat, in the st.i.tches described in figs. 173, 177, 189 A; the forget-me-nots, in two or even three shades of Bleu-Indigo, in raised satin st.i.tch and knotted st.i.tch; the slender green leaves in Vert-de-gris, or Gris-Tilleul, the stamens in Jaune-Citron, and the stalks of the roses in Brun-Acajou.

[Ill.u.s.tration: FIG. 217. FLOWER-GARLAND IN DIFFERENT KINDS OF St.i.tCHES.

First part.]

[Ill.u.s.tration: FIG. 217. Second part. MATERIALS: Coton a broder D.M.C No. 40. COLOURS: Rouge-Grenat 326 and 335, Bleu-Indigo 312 and 334, Vert-Pistache 319 and 320, Vert-de-gris 474 and 475, Brun-Acajou 301, Jaune-citron 446.]

[Ill.u.s.tration: FIG. 218. SHOWING THE WORKING OF THE OUTSIDE St.i.tCHES IN FIG. 217.]

The border that completes this charming pattern, consists of four rows of b.u.t.ton holing, worked in four colours. The first row in our ill.u.s.tration is worked in pale pink, followed by three shades of green, the palest of which is used for the second row of st.i.tches.

When these rows are worked upon a satine or cambric foundation, it is advisable to begin by making a small drawing, in which the height of the st.i.tches and the distance between them is accurately marked out, then p.r.i.c.k the pattern through and pounce it upon the material beneath.

When they are worked on a material, the threads of which can be counted no such precaution is necessary.

INSERTION IN GOBELIN AND STEM St.i.tCH (fig. 219).--Owing to the shortness of the st.i.tches, this pattern is easier to work than the foregoing ones. The little flowers are embroidered alternately in dark and light red; the setting varies to correspond, the light red flower being set in dark red, and vice versa. The interior of the leaves is in light green and the setting, as well as the connecting bars, in dark green.

[Ill.u.s.tration: FIG. 219. INSERTION IN GOBELIN AND STEM St.i.tCH.

MATERIALS: Coton a broder D.M.C No. 35--COLOURS: Rouge-Cardinal 347 and Rouge-Geranium 352 with Gris-Tilleul 392 and 331, or Bleu-Indigo 312 and 334 with Vert-Mousse 469 and 471, or Violet-Mauve 375 and 376 with Jaune-Rouille 364 365.[A]]

STRIPES OF EMBROIDERY WITH LACE INSERTION BETWEEN (fig. 220).--We conclude this chapter, by showing how stripes of embroidery can be used alone, or in conjunction, either with bands of open-work, or lace, crochet, or net insertion. Such combinations are useful for ornamenting ap.r.o.ns, table-cloths, curtains etc., every description in short of household linen and of children's garments. One great advantage, moreover, which stripes of this kind, have over larger pieces of embroidery is that they require neither frame nor pillow, nor wearisome counting of st.i.tches, but can be worked in the hand, at all times and places.

[Ill.u.s.tration: FIG. 220. STRIPES OF EMBROIDERY WITH INSERTION BETWEEN.]

FOOTNOTES:

[A] See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.

[Ill.u.s.tration: STRIPE OF GOLD EMBROIDERY IN GOLD THREAD, PURL, AND FLATTENED GOLD WIRE.]

Flat st.i.tch and Gold embroidery.

The terms, flat st.i.tch and gold embroidery, suggest as a rule, needle-work upon rich materials, such as velvet, brocade, plush and the like.

Nevertheless, a great deal of beautiful embroidery is to be met with, in silk and gold thread upon quite common stuffs; Persian and Moorish embroidery for instance, both remarkable for their delicacy and minuteness, and executed upon ordinary linen, or cotton fabrics.

As a fact, the material is quite a secondary matter; almost any will do equally well as a foundation, for the st.i.tches described in these pages.

Flat st.i.tch, and some of the other st.i.tches used in gold embroidery, can be worked with any kind of thread, but best of all with the D.M.C cottons.

FLAT St.i.tCH EMBROIDERY.--Decorative designs, and conventional flowers, are the most suitable for flat st.i.tch embroidery; a faithful representation of natural flowers should not be attempted, unless it be so well executed, as to produce the effect of a painting and thus possess real artistic merit.

ENCROACHING FLAT St.i.tCH (fig. 221).--Small delicate flowers, leaves, and arabesques, should in preference, be worked either in straight flat st.i.tch (figs. 189 and 190) or in encroaching flat st.i.tch. The st.i.tches should all be of equal length, the length to be determined by the quality of the thread; a fine thread necessitating short, and a coa.r.s.e one, long st.i.tches. The st.i.tches should run, one into the other, as shown in the ill.u.s.tration. They are worked in rows, those of the second row encroaching on those of the first, and fitting into one another.

[Ill.u.s.tration: FIG. 221. ENCROACHING SATIN St.i.tCH.]

Work your flowers and leaves from the point, never from the calyx or stalk. If they are to be shaded, begin by choosing the right shade for the outside edge, varying the depth according to the light in which the object is supposed to be placed. The st.i.tches should always follow the direction of the drawing.

ORIENTAL St.i.tCH (figs. 222, 223, 224).--The three following st.i.tches, which we have grouped under one heading, are known also, under the name of Renaissance or Arabic st.i.tches. We have used the term Oriental, because they are to be met with in almost all Oriental needlework and probably derive their origin from Asia, whose inhabitants have, at all times, been renowned for the beauty of their embroideries.

[Ill.u.s.tration: FIG. 222. ORIENTAL St.i.tCH.]

[Ill.u.s.tration: FIG. 223. ORIENTAL St.i.tCH.]

These kind of st.i.tches are only suitable for large, bold designs. Draw in the vertical threads first; in working with a soft, silky material, to economise thread, and prevent the embroidery from becoming too heavy, you can begin your second st.i.tch close to where the first ended.

[Ill.u.s.tration: FIG. 224. ORIENTAL St.i.tCH.]

But if the thread be one that is liable to twist, take it back underneath the stuff and begin your next st.i.tch in a line with the first, so that all the st.i.tches of the first layer, which form the grounding, are carried from the top to the bottom. The same directions apply to figs. 223, 224 and 226.

When you have laid your vertical threads, stretch threads horizontally across, and fasten them down with isolated st.i.tches, set six vertical threads apart. The position of these fastening st.i.tches on the transverse threads must alternate in each row, as indicated in fig. 222.

For fig. 223, make a similar grounding to the one above described, laying the horizontal threads a little closer together, and making the fastening st.i.tches over two threads.

In fig. 224, the second threads are carried diagonally across the foundation-threads, and the fastening st.i.tches are given a similar direction.

For these st.i.tches, use either one material only, a fleecy thread like Coton a repriser D.M.C for instance, or else two, such as Coton a repriser D.M.C for the grounding, and a material with a strong twist like Cordonnet 6 fils D.M.C or Fil a pointer D.M.C for the stem st.i.tch.

PLAITED St.i.tCH (fig. 225).--When the vertical st.i.tches are laid, a kind of plait is formed in the following way. Pa.s.s the thread three times, alternately under and over three foundation threads. To do this very accurately, you must take the thread back, underneath, to its starting-point; and consequently, always make your st.i.tch from right to left.

[Ill.u.s.tration: FIG. 225. PLAITED St.i.tCH.]

If you have chosen a was.h.i.+ng material, and D.M.C cottons to work with, use one colour of cotton for the foundation, and Chine d'or D.M.C No.

30, for the plaited st.i.tch.